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Chas
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Posts posted by Chas
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...but to my knowledge there were no Birdland records released between 1955 and 1957
Well it turns out there was at least one such record released , this 10-incher , which was probably issued right after Bird died in '55 :
In 1950 a Getz session was issued on Birdland 6001 and 6002. IRRC this was a Bob Weinstock partnership with Levy. The session is now recognized as a Prestige session.Birdland 6001 ( a 10" 78 rpm ) used this label :
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Chops-wise I think it's hard to make the case that his early playing ranks with early Hubbard , Byrd or Morgan . IMO his later playing ( starting with the '61 Savoy side ) is better both technically and stylistically .
Just out of curiosity , why couldn't your comments be appended to the existing Hardman thread ?
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The version of "A Child Is Born" on the Richard Davis album is THE song. I was also at that Kansas City appearance by Roland Hanna and heard him state that he had written the song. I know Richard Davis so I asked him about it after that. Richard told me that Roland had always said that he was the composer of this song throughout the years.
Hanna must have been a self-effacing sort - on that debut version from the Richard Davis album , during the intro to the tune , Hanna announces , " A Child is Born " , " Thad Jones " .
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I was at the Austin Record Convention today and came across a basically unknown Dizzy Reece album from the 70's. I didn't buy it...should I have?... It did have "Theme From the Exorcist" on it. Pretty wild jazz album with a red cover. Anybody know anything about this LP?????
Was it on Honeydew?
Yup .
All Reece originals , 'cept for that Exorcist theme . I haven't heard it , but FWIW , I usually listen to Reece records for the sidemen as much as the leader ; in this case the supporting crew includes Beirach and Grossman , which doesn't galvanize me one way or the other .
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IMO, the only gray area is in our conscience. Do I buy something that violates existing laws in my country, or not? It's up to the individual to decide. Some of us choose to disregard this consideration and instead base our decision solely on our own personal needs.
What tosh - as if the disregard for considerations of illegality could only ever be a function of self-interest rather than simply a recognition that the normative authority of law derives entirely from extra-legal moral considerations . In the case at hand , many intellectually curious people , having completed a good faith assessment of those considerations , feel themselves in no way morally obligated to abide by the current intellectual property regime as it applies to music . Your comment , in denying the possible legitimacy of such a stance , reflects an absurd legal absolutism ( not that the comment's ad hominem nature isn't reason enough to dismiss it ) .
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Don't recognize it , but I like it .
FWIW , I think the e-piano sounds more like a Wurlitzer than a Rhodes . Whichever it is , I do dig that wah-wah effect !
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A good sounding record ( Bones Howe worked for Kimberly ) , but not a good record .
I just remember the label as a cheap reissue label (of the type to delete one tune). Did Howe do any original recordings for them?
I couldn't tell you . All I have to go on is the technical boilerplate on Kimberly's rear sleeves which includes the following statement , " The total efforts of Kimberly engineers , headed by Dayton Howe , have achieved a sound acclaimed as superb by critics and record enthusiasts throughout the world "
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Opinions?? Worth seeking out?? (I know of everybody in the band, except Jeffrey.)
MG 12192 Paul Jeffrey's Electrifying Sounds (Savoy)
Jimmy Owens (tp) Paul Jeffrey (el-sax) George Cables (p) Larry Ridley (b) Billy Hart (d)
NYC, August 8, 1968
1. Made Minor Blue
2. I Guess I'll Hang My Tears Out to Dry
3. The Dreamer
4. Ecclesiology
5. Green Ivan
6. A.V.G
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As you've probably noticed , the cover looks like one of those Enoch Light Command covers . It shouldn't come as a surprise then that what you've got here is one of those stereo show-off records , in this case featuring all kinds of 'exotic' percussion with lots of overdubbing ; the Mastersounds providing mere background . A good sounding record ( Bones Howe worked for Kimberly ) , but not a good record .
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Thanks for posting those covers, Chas. You are the go-to guy for obscure cover art!
All in a day's work for a cryptojazzologist -_-
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Thought I had already posted these upthread , but apparently not , so here they are :
I don't have any of these ; would like to hear all of them of course .
Free the never-reissued Savoys !
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Anyone have or know the band/track details on the Watts?
Marzette Watts (ts) Bill Dixon (p-1) Juney Booth (b) J.C. Moses (d)
Play it straight (1)
F.L.O.A.R.S.S.
Joudpoo
George Turner (cnt) Marty Cook (tb) Marzette Watts (ts) Bobby Few (p) Frank Kipers (vln) Cevera Jefferys, Steve Tintweiss (b) Tom Berge (d) Patty Waters, Amy Sheffer (vcl)
Lonely woman (fk,as out)
October song
Medley
Recorded in the fall of 1969 ; Released on Savoy MG 12193
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Kenny Dorham
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The ironic thing is that people's money is safer in mutual funds right now than in a bank.
Unless you think the US government is going to go belly up, bank deposits (up to $100K) are FDIC insured. Mutual funds are not.
If the mutual funds are held in a brokerage account they are insured up to $ 500,000 by SIPC . Excess SIPC coverage ( provided by third-party insurers ) up into the millions is available from the major brokerages and fund companies as well . Additionally , mutual fund investors are protected by the fact that fund assets are held in trust and are thus legally separate from the mutual fund company , and by the fact that mutual fund managers must be bonded .
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For the curious , the early John Towner Williams recordings for Kapp and Bethlehem are out on a Fresh Sound double-CD . The music in the samples doesn't much interest me ( too brief to really judge , I know ) ; the septet/octet tracks might be worth hearing for the sidemen however .
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Tranemonk. . . .
Based on what I can assess of your musical tastes. . . I don't think you'll like it.
What , you don't think a guy with a Marsalis avatar would like Braxton ?
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Do you have this one? I have always been curious about it - I have the other Mainieri Solid State LP.
And closer-up , showing the band inside the pupil
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Like you , I've only got Journey Thru an Electric Tube , which IMO , is a record that in its best moments approaches Burton-Coryell territory , but one that , given the psych-rock vocalizing and fuzz guitar , I find that I'm not in the mood for all that often . Insight , being a quartet date , might cleave more closely to a Burton-Coryell dynamic and as such might be of greater interest to me , though I must admit to never really having been knocked out by Joe Beck's playing .
I had both records back in the day. Liked "Insight" better. The Burton/Coryell comparison is apt, it's a quartet date, while "Journey" is a mixed bag that works only partly.
After finally getting ahold of Insight I agree with you that it's the better album . While Journey Through An Electric Tube has its Duster-like moments , Insight is a lot closer in style to that great album , free as it is of the hippie lyrics and more rockish elements of Journey Through An Electric Tube . Thankfully , Joe Beck is not in his I-wanna-be-a-rock-guitar-hero mode , and plays concordantly throughout . The Australian bassist has a couple of Slam Stewart-like moments , but is otherwise fully integrated into the group sound . In sum , I'd recommend that fans of Gary Burton's late Sixties doings check out both Mainieri Solid States , with priority given to Insight .
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Murphy's is the face of someone who might have broken bread with Eden Ahbez on occasion...
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Side one of What's New ? has already been reissued twice ( once on Macero's own label , and once by Stash ) , leaving the five Bob Prince compositions on side two as orphans . Max Harrison wrote a favorable review of them , and that , in conjunction with the personnel , is enough to have me hoping they will somehow find their way onto CD at some point . For now , we'll have to make do with the Prince arrangements to be found on Lonehill's reissue of Saxes Inc. .
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Upon This Rock and Canned Funk are great.
FWIW , I'd rank those the least of Farrell's six CTI sides , largely because of Joe Beck . I'd rate Moongerms and Outback at the top , followed by Quartet and Penny Arcade .
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I've never regretted paying full retail price for this one :
<<< Marcus Belgrave -- Gemini ... CD Universal Sound (UK), 1974. New Copy .... $18.99 -- a really short date (36 or 37 minutes, as I recall), but really sweet. When it was all said and done, I did NOT mind the price. (And I was fully prepaired to really start bitchin' when I saw it clock up that short -- like $2 per minute, sheesh!)
I dig that one too , but it should be noted that it's ~ 50 cents per minute , not $2 per minute . Mixed Bag's Tribe date is another one worth the bread .
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The Sam Most (a 10") was on a Xanadu LP - a nice session. But it never was on CD, you're right.
Actually it is on CD . Lonehill has put it out combined with one of Most's Bethlehem sides . See here .
Not surprisingly it's a needle-drop , but 'vinyl-artifacts' are only really apparent on one track . Good sound otherwise , considering the vintage . Any flute or clarinet fan would enjoy this I think . A rare chance to hear Bob Dorough the instrumentalist as opposed to vocalist , as well .
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What recording studio was used for Sonny's Dream ?
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This one's got "bathroom-reading" written all over it ; I mean , where better to bone up on porcelain insulators than in the 'porcelain library'
rita reys/blakey
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